[SOLVED] Martin is encouraged by the progress you

Martin is encouraged by the progress you have made so far. As promised, he forwards you an email from one of the key members of his staff, Pat Smith (an artist manager). He also provide you with an e-mail from Shannon Howard, a prospective artist who might use FAME’s services.
E-mail from Pat Smith, Artist Manage
I am Pat Smith, and I am one of the 20 artist managers working for Mr. Forondo. I have worked for him for 15 years, and I am one of the most senior managers within the company. I enjoy working here because Mr. Forondo trusts me and knows that I will do my job. One area we have been lacking in during the last 10–15 years is the use of computers to support our jobs, and it is great to hear and notice that something is happening in this area.
There are two areas that I find particularly important for me. First, I would like to have a system that would help me track prospective artists. There are so many talented musicians around the world that it is almost impossible to know who is doing what and where without keeping very good records and it seems that this would be an area where computers really could help. There are a lot of sources from which I get hints about young artists whose career I should start to follow. Sometimes my friends who are music critics call me and recommend a particular young artist they have heard; sometimes I myself hear a promising artist perform; sometimes we find a jewel among the unsolicited recordings that are sent or referred to us; and we also follow a large number of newspapers, magazines, and websites that review performances. Over the years we have earned to value the opinions of certain critics who write reviews, thus it is very important to know the source of a recommendation or an opinion. Sometimes I deal with dozens or even hundreds of recommendations per day and thus the lists that I maintain in a Word file on my laptop just are not very easy to use and organize.
The system for managing prospective artists should keep track of the artists (including their name, gender, year of birth, instrument(s), university degrees, address, phone number, e-mail, honors, etc.) and all the situations in which we have heard of them (including the source, a brief summary, a brief quality evaluation, and space for storing the original story or a reference to it if it was a review either in a newspaper or on the Web). It is essential that I can get this data reported quickly and in an easy-to-read format. It would be fantastic if I could query the database from my personal tablet and smartphone; I definitely need access to my laptop while on the road. This info would be maintained by any of the managers in the company or their administrative assistants (the assistants take care of most of the work with the reviews). I don’t know if Mr. Forondo told you but he makes the final decisions regarding who becomes the artist manager for a new artist if there is any question about the contributions in recruiting the artist.
The second system I would find very helpful would be an application that reports the revenues my artists have earned in the past (we should be able to choose the period freely) and are predicted to earn in the future based on the contracts we have signed for them with our clients. This way, I would know how much I am earning and going to earn in the future. Somehow, it would be great if the system could also tell how much money I have spent on travel; as you might have learned, we managers pay our own travel costs from the 60 percent of royalties we receive. I am really happy we don’t need to pay the assistant’s salaries, too.
E-mail from Shannon Howard, Prospective Artist
I am Shannon Howard, a soprano from Bloomington, Indiana, and I have had some initial discussions with Pat Smith at FAME regarding the possibility that they might take me under management. I feel that having a good manager would be very important for my career, and I believe that FAME would provide excellent service for me.
One area where FAME is not yet very strong is marketing their artists on the Internet, and maybe your project could have some impact in this area. I think it would be an excellent idea if prospective concert organizers could see an artist’s information on the Web and also hear samples of his/her music. In addition, information about an artist’s availability should be available on the Internet. By the way, has anybody remembered to tell you that an artist may be prevented from performing somewhere not only because of an earlier commitment to perform but also because of rehearsals or time needed for travel? Sometimes large productions need long practice times and transcontinental travel also can take several days away from an artist’s schedule. For me it is very important that I can personally negotiate with my manager what I will perform and what I won’t, and I think it would be great if my manager would know what repertoire I have already prepared and what I am not willing or able to perform at this time. Also, it would be great if I could block time away from my calendar in different priority groups so that I could say that certain days I am definitely not available, certain days are not very good but I can perform if Pat can find an excellent opportunity for me, and on certain days I can take any work. I don’t know if this is realistic technologically and whether or not Pat would accept the idea, but it sure would be nice from my perspective. The smoother all types of practical issues go, the better I can focus on my actual work, i.e., singing. Therefore, I feel that it is very important that FAME has a good computer system to help them in their work for me (assuming I can sign up with them—wish me luck!). I would find it very helpful if they could tell me at the end of the year how much money I have made and from whom I received it—it won’t be a long list in the beginning but hopefully it will become much more extensive over time.
I don’t know if you have thought about it but just in case I have gigs around the world it would be very nice if the system could also tell how much (if anything) each of the governments withheld from my pay at the source before it was forwarded to FAME and if the payments could be sorted and subtotaled by country. If you wonder what this could mean in practice, let me give you an example. Let’s say I am performing in Finland and Finland has an at-the-source tax for artists of 15 percent. If my fee there is $2,000, my employer in Finland has to withdraw 15 percent of my fee and pay it to the Finnish government; therefore, FAME will receive only $1,700, and if their royalty is 30 percent, I will receive only $1,190. At the end of the year, FAME should give me a report including four columns: my original fee (i.e., $2,000 in this case), tax-at-source ($300), FAME’s share ($510), and finally my share ($1,190). The math is simple but it is essential that this is done correctly so that I won’t be in trouble with the tax authorities either in foreign countries or here in the United States.
Project Questions:
Use the narratives in Chapter 1 and above to identify the typical outputs (reports and displays) the various stakeholders might want to retrieve from your database. Now, revisit the EER diagram to ensure that your model has captured the information necessary to generate the outputs desired. Update your EER diagram as necessary.

Question: Martin is encouraged by the progress you